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          <title><![CDATA[幸せの【おすそわけ】 | shoji masahiro]]></title>
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          <title><![CDATA[Tomat merah cerah yang dipegang dengan kedua tangan | れむ-remm-]]></title>
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          <title><![CDATA[Seorang pria dengan kemeja kotak-kotak mengulurkan kedua tangan ke depan | awesome_photo]]></title>
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          <title><![CDATA[Seseorang yang memegang file datar metal dengan kedua tangan | 本気のくまにゃん]]></title>
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          <title><![CDATA[Orang yang mengenakan sweater lembut memegang buku kecil berwarna abu-abu dengan kedua tangan | Kayokophotos]]></title>
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          <description><![CDATA[Unduh foto Orang yang mengenakan sweater lembut memegang buku kecil berwarna abu-abu dengan kedua tangan berkualitas tinggi dan gratis yang diambil oleh Kayokophotos di cizucu.]]></description>
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          <title><![CDATA[Wanita berpakaian hitam tersenyum dan membuat tanda OK dengan kedua tangan | chikyujin]]></title>
          <link>https://www.cizucu.com/id/photos/AqgCbKcQsfBxQLiJF7Qm</link>
          <description><![CDATA[Unduh foto Wanita berpakaian hitam tersenyum dan membuat tanda OK dengan kedua tangan berkualitas tinggi dan gratis yang diambil oleh chikyujin di cizucu.]]></description>
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          <pubDate>Wed, 24 Jan 2024 10:07:54 GMT</pubDate>
          <atom:updated>2024-11-24T23:50:24+09:00</atom:updated>
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          <title><![CDATA[Seorang pria mengenakan kemeja putih memegang kepalanya dengan kedua tangan | どさんこみっちゃん]]></title>
          <link>https://www.cizucu.com/id/photos/9pIKjmNLC4EmIF3M9NH4</link>
          <description><![CDATA[Unduh foto Seorang pria mengenakan kemeja putih memegang kepalanya dengan kedua tangan berkualitas tinggi dan gratis yang diambil oleh どさんこみっちゃん di cizucu.]]></description>
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          <pubDate>Mon, 25 Dec 2023 17:30:47 GMT</pubDate>
          <atom:updated>2024-11-26T02:32:23+09:00</atom:updated>
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          <title><![CDATA[Seorang wanita dengan kemeja putih memegang kepalanya dengan kedua tangan, terlihat merenung | 柚羽]]></title>
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          <description><![CDATA[Unduh foto Seorang wanita dengan kemeja putih memegang kepalanya dengan kedua tangan, terlihat merenung berkualitas tinggi dan gratis yang diambil oleh 柚羽 di cizucu.]]></description>
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          <pubDate>Tue, 17 Dec 2024 17:52:28 GMT</pubDate>
          <atom:updated>2024-12-17T17:52:46+09:00</atom:updated>
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          <title><![CDATA[Seorang wanita tersenyum dan menunjuk dengan kedua tangan di depan dinding berwarna krim sederhana | chikyujin]]></title>
          <link>https://www.cizucu.com/id/photos/aTdCUbk02lbZg0TkgrGj</link>
          <description><![CDATA[Unduh foto Seorang wanita tersenyum dan menunjuk dengan kedua tangan di depan dinding berwarna krim sederhana berkualitas tinggi dan gratis yang diambil oleh chikyujin di cizucu.]]></description>
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          <pubDate>Wed, 24 Jan 2024 09:57:48 GMT</pubDate>
          <atom:updated>2024-11-25T00:15:37+09:00</atom:updated>
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          <title><![CDATA[This photograph was taken during my journey through Liangshan. The day was bitterly cold, and the air was heavy with moisture. The cold did not feel like something that merely touched the skin—it felt as though it could pass through clothing and sink deep into the body. We crossed one frost-covered hill after another, and at the top of one of them, we came across a solitary house. There were no other people in sight for nearly a kilometer, yet inside lived a young brother and sister, both no older than about five.  They told us that the adults had gone to the market to sell cattle and sheep, leaving the two of them at home alone. There was no light in the house, and the floor was rough, cold concrete. Even with boots on, I could feel my toes growing painfully numb, yet they walked barefoot across the frost-covered floor as if they had long since grown used to it. Their runny noses clung to the tips of their noses, drying and wetting again and again, becoming one of the most direct traces of that winter day.  We asked them what they usually did at home, and they answered, quite naturally, that they liked biting thick pieces of cardboard for fun. As they spoke, they really did begin to bite into it. In that moment, I felt a quiet sadness. But then a beam of sunlight fell across the child’s face, and he burst into laughter, as if the harshness around him had not managed to define him. At that instant, I realized that what I was seeing was no longer just poverty or cold, but something far stronger—the resilience of life itself.  This photograph is important to me not because it documents hardship in a remote place, but because it reminds me that even in the most unforgiving environments, people can still hold on to joy, vitality, and light. What I felt that day was not simply sympathy, nor the shock of an outsider looking in, but a deep sense of respect. To me, this photograph is not about suffering. It is about resilience. It is not about deprivation, but about the light that remains, even within it. | 熊寶]]></title>
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          <pubDate>Tue, 14 Apr 2026 12:44:16 GMT</pubDate>
          <atom:updated>2026-04-14T12:44:16+09:00</atom:updated>
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            <media:title><![CDATA[This photograph was taken during my journey through Liangshan. The day was bitterly cold, and the air was heavy with moisture. The cold did not feel like something that merely touched the skin—it felt as though it could pass through clothing and sink deep into the body. We crossed one frost-covered hill after another, and at the top of one of them, we came across a solitary house. There were no other people in sight for nearly a kilometer, yet inside lived a young brother and sister, both no older than about five.  They told us that the adults had gone to the market to sell cattle and sheep, leaving the two of them at home alone. There was no light in the house, and the floor was rough, cold concrete. Even with boots on, I could feel my toes growing painfully numb, yet they walked barefoot across the frost-covered floor as if they had long since grown used to it. Their runny noses clung to the tips of their noses, drying and wetting again and again, becoming one of the most direct traces of that winter day.  We asked them what they usually did at home, and they answered, quite naturally, that they liked biting thick pieces of cardboard for fun. As they spoke, they really did begin to bite into it. In that moment, I felt a quiet sadness. But then a beam of sunlight fell across the child’s face, and he burst into laughter, as if the harshness around him had not managed to define him. At that instant, I realized that what I was seeing was no longer just poverty or cold, but something far stronger—the resilience of life itself.  This photograph is important to me not because it documents hardship in a remote place, but because it reminds me that even in the most unforgiving environments, people can still hold on to joy, vitality, and light. What I felt that day was not simply sympathy, nor the shock of an outsider looking in, but a deep sense of respect. To me, this photograph is not about suffering. It is about resilience. It is not about deprivation, but about the light that remains, even within it. | 熊寶]]></media:title>
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          <title><![CDATA[“Not all heroes wear capes, some make them” is a photographic project centered on the tailors of Singapore. In a rapidly modernising city, tailoring has quietly become a fading craft, often overlooked and undervalued. Through this series, I hope to draw attention back to these artisans who have spent decades honing their skill.  The visual approach focuses on raw, intimate details—the worn textures of an ageing tailoring shop, the quiet stillness of the space, and the lines etched on her face. These elements are not signs of decline, but of experience, resilience, and mastery. Every crease and surface tells a story of time, patience, and dedication to a craft that once held greater prominence.  As society shifts toward technology and more “advanced” professions, traditional trades like tailoring risk being forgotten. This project is an attempt to pause, observe, and appreciate the hands that continue to create, repair, and sustain. In doing so, it serves as both a tribute and a gentle call to notice those whose work, though often unseen, has long shaped the fabric of everyday life. | Arthur Liew]]></title>
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          <pubDate>Sun, 22 Mar 2026 16:38:29 GMT</pubDate>
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          <title><![CDATA[“Not all heroes wear capes, some make them” is a photographic project centered on the tailors of Singapore. In a rapidly modernising city, tailoring has quietly become a fading craft, often overlooked and undervalued. Through this series, I hope to draw attention back to these artisans who have spent decades honing their skill.  The visual approach focuses on raw, intimate details—the worn textures of an ageing tailoring shop, the quiet stillness of the space, and the lines etched on her face. These elements are not signs of decline, but of experience, resilience, and mastery. Every crease and surface tells a story of time, patience, and dedication to a craft that once held greater prominence.  As society shifts toward technology and more “advanced” professions, traditional trades like tailoring risk being forgotten. This project is an attempt to pause, observe, and appreciate the hands that continue to create, repair, and sustain. In doing so, it serves as both a tribute and a gentle call to notice those whose work, though often unseen, has long shaped the fabric of everyday life. | Arthur Liew]]></title>
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          <pubDate>Sun, 22 Mar 2026 16:32:12 GMT</pubDate>
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